This is no soft and cuddly bunny rabbit. For this Bunny has scratched and clawed for survival in the back alleys of Brooklyn and she’s ready to come out of her hole. While like most bunny rabbits, she “flops and fucks in the motherfuckin’ nature shit,” decidedly, there are few other similarities between the popular pet and the Brooklyn diva. Her debut effort Lovers and Crypts is a brash affair, and not for the faint of heart.
With her bleached blonde hair, outrageous wardrobes, and affinity for vivid language, Bunny is sure to evoke polar reactions from listeners. One certain advantage is her oh-so-sweet voice that lends stability to Lovers and Crypts, which at times can be just plain filthy. It’s her alluring tone that has the ability to draw one to drool, but alas, don’t get your hopes up, as her cohort on the album Black Cracker (Celena Glenn) is not only her partner musically, but in life as well. The connection translates well on Lovers and Crypts, with Bunny Rabbit issuing the rhymes and Black Cracker handling the production and providing timeless beats that carve a diverse landscape into the album.
The formula for Lovers and Crypts is simple. Take one part mellow and three parts crude and set it to a backdrop of respectable beats. From the onset of the first track (“Saddle Up”), the silky smooth voice is incurred and the true nature of the album is evident. Lovers and Crypts is a club ready fusion of gangsta rap and rock. Given the frequently graphic subjects on L & C, the safest tracks, “Lucky Bunny Foot” and “Saddle Up” are destined to earn the billing of singles, but that’s not to diminish the remaining songs on the album. The former track is an anthemic dance number complete with the ever-popular hip-hop commands of “wild out” and “do the damn thing.” The latter is an infectious track that is more representative of L & C than its counterpart and is likely to be pushed by label Voodoo-EROS. Much of Lovers and Crypts hinges on the combination of Bunny’s melodic croons, abuse of third person, and “did she just say that?” shock value. “Dirty Dirt” is a playful tune bound to leave one giggling, ostensibly from the discovery of a new role model. “It Ain’t Easy” follows suit as a lively lullaby with plenty of objectionable nomenclature to boot. Not to be outdone is “Rio Grande,” a song straight from a thug’s book of nursery rhymes, and affirming what we’ve already concluded (“The Devil plays hopscotch on [her] block“), is the title track, “Lovers and Crypts”. As if all this doesn’t leave you smirking, there’s always the disclaimer track “Pussy Queen” that proclaims an essential truth, “We all feel the steam from the Pussy Queen” (but don’t we?), a track surely worthy of play in the world’s finest strip clubs.
With an album so in your face there are more than a few ill-advised moments, but it shouldn’t be held against the O.B. (Original Bunny). Bunny Rabbit’s selling point on Lovers and Crypts is the fact that this is a genuine extension of her person and all the bravado and shock employed is clearly not an act. While it’s in the nature of the album to ruffle feathers, the free spirit of the music is captivating to even the most uptight of critics. There are both truths and uncertainties that exist about L & C. Most likely, your lady is bound to love Bunny Rabbit and at the minimum Lovers and Cryptscan be classified as a guilty pleasure. Fun is the name of the game through and through, but one must know their audience when introducing the album to others (Hint: Don’t play “Dirty Dirt” in the car with your mother). It is hard to gauge the response Bunny Rabbit will garner, given the usual dismissal of white female rapper-types and the contrasting success of shockers like Peaches, whom Bunny is inevitably bound to be compared to. Given the glammed-up presentation of the album, it is a clear indication that this not a half-hearted effort. Just how well Lovers and Crypts will fare commercially is anyone’s guess.
Peaches – The Teaches of Peaches
M.I.A – Arular
Lady Sovereign – Public Warning